Puget Sound (Seattle/Tacoma/Olympia/Bellevue) – Page 3 – Shows I've Seen

Primary Trust – Play – Review – Seattle Rep

@showsiveseen Eboni Booth’s "Primary Trust" #play by @Seattle Rep. Starring Stephen Tyrone Williams. Featuring @Justin Huertas on the keys, guitar, cello, ukelele, etc. Must be nice to have an imaginary friend like @Andrew. Script w/ heart & beautiful characters portraying universal human experiences. Only 4 more performances left till 11/27 closing. Review: showsiveseen.com/10431 Director: Kaytlin McIntyre Stage Manager: @Melissa Hamasaki #theatre #showsiveseen #growth #friendship #connection #babySteps ♬ Only Human – Acoustic – Ryan Mack

Elevator Thoughts (aka Tweet): Eboni Booth’s Primary Trust play by Seattle Rep. Starring Stephen Tyrone Williams. Featuring Justin Huertas on the keys, guitar, cello, ukelele, etc. Must be nice to have an imaginary friend like Andrew Lee Creech. Script with heart and beautiful characters portraying universal human experiences.

Recommendation:
See it.

My Synopsis (No Spoilers): An awkward man in a sad lonely repetitive existence with an imaginary friend is forced to take baby steps to grow and come out of his shell.

Synopsis from the Licensor or Theatre Company: Kenneth has lived his entire life in the same small town. Every day he works at the bookstore, then shares happy hour Mai Tais with his best friend. And so what if his best friend is imaginary? Every day is the same, just the way Kenneth likes it—until he is laid off and his world is turned upside down. Thrown out of his comfort zone, Kenneth must find the courage to face his biggest fear: change. This 2024 Pulitzer Prize winner and intimate, offbeat new comedy by Eboni Booth tells a surprising story about one man’s leap of faith and the friends he makes along the way.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: None

Defined Plot/Storyline: Mostly yes

Live Band/Orchestra: Yes, there was live instrumental music from Justin Huertas

Union Actors: All

Total Actors: 4

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 90 minutes

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? No, but it was good

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Imaginary Friend: Although it was a coping defense mechanism (and honestly a mild psychotic break), having an imaginary friend like Bert (played by Andree Lee Creech) must be nice – a personal cheerleader and confidant all in one.
Cast Doubling: Allyson Lee Brown and Rob Burgess masterfully curated a diverse range of characters to life. Rob first portrayed a grumpy boss with a heart of gold, then shifted to a kind supervisor bank manager still stuck reminiscing about his college football days, before switching gears to play a dainty waiter. One of the funniest moments was when Allyson had a lively argument with herself, seamlessly switching between her roles as Corrina and her coworker Duncan.
Script: At first, the script seemed to meander about nothing, but it gradually blossomed into a beautiful exploration of universal human experiences—loneliness, loss, grief, trauma, separation anxiety, and fear of change. I loved was how it encouraged taking baby steps toward growth, stepping out of your comfort zone, and putting yourself out there in the hope of genuine human connection, fulfillment, and success.
Live Music: The live instrumental music was a nice touch to the play, and of course, I’d always prefer it instead of a recorded track. Additionally, Justin Huertas is incredibly talented with his many musical abilities. But I question whether the live music was a necessary expense for this production. Honestly, the experience wouldn’t have been diminished without it. And I say this as someone who hates attending musicals without live accompaniment.
Favorite Line: “That man [Stephen King] doesn’t want me to sleep with the lights off.”

Rant(s)

Bell: The bell sound effect between scenes might have been slightly overplayed.

Theatre Company: Seattle Rep

Venue: Leo Kreielsheimer Theater at Seattle Rep

Venue Physical Address: 155 Mercer St, Seattle, WA 98109

Price Range: $60-85

Ticket Affordability Options: See the theatre’s official pages about discounts and pay-what-you-can performances

Dates: October 24 to November 27, 2024

Seating: Assigned Seating

Parking: There are paid lots and paid street parking. I usually park on Mercer to the West of 1st Ave. There’s usually also plentiful street parking around Safeway. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.

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Pictures: See production pictures below by Bronwen Houck.

Cast and Production Team: See pictures below.

Justin Huertas in *Primary Trust* (2024) at Seattle Rep. Scenic design by An-lin Dauber. Photo by Bronwen Houck.

Stephen Tyrone Williams and Allyson Lee Brown in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Justin Huertas and Stephen Tyrone Williams in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Andrew Lee Creech, Stephen Tyrone Williams, and Rob Burgess in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Stephen Tyrone Williams, Andrew Lee Creech, and Rob Burgess in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Andrew Lee Creech, Stephen Tyrone Williams, and Allyson Lee Brown in *Primary Trust* (2024) at Seattle Rep. Photo by Bronwen Houck.

Stephen Tyrone Williams in *Primary Trust* (2024) at Seattle Rep. Scenic design by An-lin Dauber. Photo by Bronwen Houck.

Credits for *Primary Trust* (2024) at Seattle Rep. Photo from Encore Spotlight.

Edgar & Annabel – Play – Review – Pony World Theatre

@showsiveseen Sam Holcroft's "Edgar & Annabel" #play by Pony World Theatre at 12th Ave Arts. Seamless coordination between what's real vs fake. "Mr. & Mrs. Smith" or "Alias" vibes. Begins with a novel optional interactive spy remedial training. Tickets selling out w/ only 4 more performances left till the 11/30/24 closing! Review: showsiveseen.com/10433 Director: Charlotte Peters Stage Manager: Kimberly Le #theatre #showsiveseen ♬ Play Pretend – bby ivy

Elevator Thoughts (aka Tweet): Sam Holcroft’s Edgar & Annabel play by Pony World Theatre at 12th Ave Arts. Seamless coordination between what’s real vs fake. Mr. & Mrs. Smith or Alias vibes. Begins with a novel optional interactive spy remedial training. Tickets selling out with only 4 more performances till the 11/30/24 closing!

Recommendation:
See it.

My Synopsis (No Spoilers): A spy couple strugges to balance their real personal life vs their fake professional life. But at what cost? Is it worth it?

Synopsis from the Licensor or Theatre Company: Conscientious recycling, karaoke parties, home cooked meals: Edgar and Annabel enjoy the perfect, middle-class marriage. And they can keep it if no one finds out they’re actually Nick and Marianne, two resistance fighters who assume fake identities to avoid the detection of an Orwellian government. With every moment of their lives literally scripted to support the subterfuge, the slightest surprise puts them and their whole organization at risk. When rewrites and improvisations throw their plans into chaos, they wont know who they can trust least of all each other. A darkly comedic spy thriller, Edgar & Annabel explores the lines between public and private, asking what we would sacrifice to stay free. Prior to performance of this riveting tale, the audience is invited to arrive early to participate in a collection of puzzles meant to train the next generation of Agents tasked with seeking out subversive elements. This training is available as early as 7:00pm, with cohorts of recruits allowed into the theatre roughly every ten minutes until the start of the show. While these puzzles are optional and merely observing is perfectly allowed, PWT encourages everyone to arrive early to take advantage of the full experience.

Type: Play

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Only 2-3

Static (Stationary) or Dynamic Set: Static

Prior Exposure/Knowledge Required: None

Defined Plot/Storyline: Yes

Union Actors: 0

Total Actors: 7

Perceived Pace of the Show: Medium speed

Was there an intermission? No

Length (Including Any Intermission): 80 minutes

Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? No, but it was good

Mainstream Appeal: Medium

Other Rave(s) Not Mentioned Above

Real vs Fake Life: The script and actors expertly switched between portraying what the spy characters wanted to show to their enemies versus revealing to the audience their true emotions. It was as if they were performing for two audiences: the one watching in the theatre and the one monitoring them through surveillance.
Interactive Training: Before the main performance, audience members were encouraged (but not required) to participate in mock spy remedial training exercises that consisted of audio surveillance, a cluster scan, and a crime scene investigation. While I personally don’t gravitate to interactive theatre (pillow princess here!), Seattleites and Portlanders people would eat this up. I will say that the crime scene investigation answers were impossible!

Theatre Company: Pony World Theatre

Venue: 12th Ave Arts

Venue Physical Address: 1620 12th Ave, Seattle, WA 98122

Price Range: $24

Dates: November 1 to November 30, 2024

Seating: General Admission

Parking: Paid lot or paid street parking. Street parking is extremely limited since it’s Capitol Hill. Even if you can find street parking, it often costs more than some parking lots. I highly recommend the paid lot at 1300 E Olive St with the entrance on 14th Ave.

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Pictures: See production pictures below.

Cast and Production Team: See pictures below.

Preview Post – Legally Blonde – Musical – Village Theatre

Congrats to Village Theatre on the opening night of their Legally Blonde musical production. As one of my favorite shows, I’ve seen it at least 7 times. Performing in Issaquah till 12/22/24 then performing in Everett 1/4/25-1/26/25. Stay tuned for my full review! #legallyBlonde #pink #lawSchool #harvard #harvardLaw #ElleWoods #BendAndSnap #OmigodYouGuys

Final Full Review: https://www.showsiveseen.com/legally-blonde-the-musical-review-village-theatre/

Tickets: https://villagetheatre.org/shows/blonde/

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Wicked – Musical – Review – Paramount Theatre

@showsiveseen Stephen Schwartz's "Wicked" musical at the Paramount Theatre from @Seattle Theatre Group & Broadway Across America. Starring @laurensamuels & Austen Danielle Bohmer. Dazzling light, sets, & costumes. Timely commentary on modern society (esp the USA). Performing till 12/1/24. Review: showsiveseen.com/10100 Director: Joe Mantello Stage Managers: Dawn Fenton, Michelle Dunn, Joseph Heaton Conductor: Faith Seetoo Photos: Joan Marcus @WICKED the Musical #witch #witches #WizardofOz #wicked #theatre #showsiveseen ♬ Defying Gravity – Jennifer Owens

Elevator Thoughts (aka Tweet): Stephen Schwartz’s Wicked musical at the Paramount Theatre courtesy of Seattle Theatre Group and Broadway Across America. Starring Lauren Samuels and Austen Danielle Bohmer. Dazzling light, sets, and costumes. Timely critical commentary on modern society (esp the USA). Performing till 12/1/24. #witch #witches #WizardofOz

Recommendation:
See it!

My Synopsis (No Spoilers): Prequel to The Wizard of Oz exploring the relationship between Elphaba (the wicked witch of the West) and Glinda (the good witch of the North).

Synopsis from the Licensor or Theatre Company: So much happened before Dorothy dropped in. WICKED, the Broadway sensation, looks at what happened in the Land of Oz… but from a different angle. Long before Dorothy arrives, there is another young woman, born with emerald-green skin—smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.” From the first electrifying note to the final breathtaking moment, WICKED—the untold true story of the Witches of Oz—transfixes audiences with its wildly inventive story. “If every musical had the brains, heart and courage of WICKED, Broadway really would be a magical place” (Time Magazine).

Attended Performance Date: 11/7/24 – Opening Night

Type: Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) Set? No

Prior Exposure/Knowledge Required: You’ll appreciate this show more if you’re familiar with The Wizard of Oz story.

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed, but the first act felt pretty long

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Was This the First Time I Attended a Production of this Show? No, I’ve seen it at least 2 times prior including once at the Paramount Theatre a couple years ago.

Would I See It Again 3 Years from Now? I don’t know … 3 times is a lot already.

Mainstream Appeal: High

Other Rave(s) Not Mentioned Above

Lighting Design: The Kenneth Posner designed a dazzling light show especially during “One Short Day” in the green city of Oz. The slightly prismatic/rainbow white lights converging on Elphaba during “Defying Gravity” was also pretty spectacular.
Societal Commentary: The script poignantly criticizes modern society, which is timely for the recent election results and the divisive nature of USA politics. There were are many quoteworthy statements like “The truth is not a thing of fact or reason, the truth is just what everyone agrees on. Where I’m from, we believe all sorts of things that aren’t true. We call it – ‘history.'” It’s disappointing that the societal criticisms from when this musical was written 20 years ago still apply today. Colorism obviously sticks out as a negative theme with Elphaba being scorned for her skin color. It reminds me of how the rules of chess dictate white always goes first. Also, I’m not sure if it was intentional, but the script also seems to call out modern slacktivism when “Galinda” became “Glinda” in faux solidarity/outrage of animal discrimination. It reminded me of past social media trends like when users blacked out their profile pictures to support “Black Lives Matter” or changed their profile pictures to cartoons to protest child abuse. Call me a cynic, but these slacktivist actions are lazy, ineffective, and narcissistic just like Glinda.
Fiyero: Xavier McCinnon was an interesting choice to portray Fiyero, offering a fresh take that stood apart from typical Fiyero castings. McCinnon’s interpretation and voice was smooth and effortless, which perfectly complemented the character’s personality. Of note, he was significantly taller than his female costars and it was glaringly apparent in “As Long as You’re Mine.”
Belonging: I love how Elphaba, who was ostracized for her green skin, found a city (Oz) that celebrates all things green. It reminds me of small-town theatre kids who visit Manhattan or middle-of-nowhere-USA Asians who visit Los Angeles.

Rant(s)

Obstructed Views: I often complain about the Paramount Theatre’s terrible seat staggering and short slope incline contributing to frequently obstructed views. It is the most likely theatre in Seattle where the person sitting in front of you could block your sightline. I strongly recommend that ticket buyers prioritize seating options highlighted in this link to ensure the best viewing experience. That being said, ever since the Seattle Theatre Group replaced the seats, I’ve noticed less risk of this.
Microphones: The singing in this production seemed less energetic than the previous 2-3 productions I’ve seen. It was definitely more tepid than the original cast recording. I think increasing the lead performers’ microphone volume would solve this issue.
Boq: While I’m glad to see Asian inclusivity in theatre, did they really need to cast an Asian actor as the short “beta-male” munchkin? This casting decision perpetuates negative stereotypes that we Asians would like to move away from.

Theatre Company: National tour brought to Seattle by Broadway Across America and Seattle Theatre Group

Venue: Paramount Theatre

Venue Physical Address: 911 Pine Street, Seattle, WA 98101

Price Range: $80-300 plus the insane Ticketmaster fees. Buy your ticket at the box office to avoid the exorbitant fees. Down with the Ticketmaster Live Nation monopoly!

Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are eligible for an organization discount.

Dates: November 6 – December 1, 2024

Seating: Assigned Seating

Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.

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Pictures: See pictures below by Joan Marcus.

Cast and Production Team: See after pictures below.